Kiss the day goodbye, the sweet lips and the sorrow,
Wish me luck, the same to you!
But I can't regret what I did for love, what I did for love!
Look my eyes are dry! The gift was ours to borrow.
It's as if we always knew,
And I won't forget what I did for love.
[ -- "What I Did for Love" from A Chorus
Line, an original Broadway play
& film; script inspired by the lives of some of NYC's theater "gypsies"
-- ]
Hollywood, hah! When it comes to filming
in free sunshine, California might still have an edge.
Maybe. When it comes to filming "on location," however, the
Empire State rules. More films, music videos, TV
shows, and ads were made in New York City in 1997 than ever before. Why?
New York City is full of famous landmarked
buildings that are naturally photogenic. Its ethnic neighborhoods have
a fascinating, colorful atmosphere. New York pavements pulse with
energy. Few things here in "the City that never sleeps" ever slow
down or stop; the subway and mass transit system keep running daily
for 24 hours; many restaurants operate
around-the-clock; 24-hour photocopy shops are available -- and often filled
at all hours with busy souls bent over rented computers at well-lit
work stations. And when bars or clubs close their doors, hundreds of
"after-hours" pleasure domes are packed with celebrities and others having
fun until dawn -- and beyond. Street-life is alive with fashion and
individualism; it is almost unheard-of to see no one else out
when you venture outdoors in New York City.
Non-Stop New York is
IT. If you're not here,
naturally you're curious to see movies that were shot here. Film
shoots started in 1898, documenting New York's unique growth as one of the
most important urban centers in America.
What you can find out about right now on this page:
Interested
in movie history? Read about: "Early NY Films of 1898-1906."
The Mayor's Office of Film, Theatre & Broadcasting announces that, for
the 3rd consecutive year, NYC has set a record for film and television
production.
Read about: Upcoming Productions Expected to Shoot in NYC in 1998.
Discover: How Shooting Works on the MOFTB PERMIT.
Interested in NYC history?
Check out:
"The Life of
a City: Early Films of New York, 1898-1906: U.S. History."
This collection contains 43 rare, actuality motion pictures made between
1898-1906 in New York City. Actuality films capture real, day-to-day
events of the time. Two early film companies produced these motion pictures
which were viewed by the public in nickelodeons. One film title
is: "What
Happened on 23rd Street, New York City"; another is a melodrama "The
Skyscrapers of New York."
1) The collection highlights the urbanization of NYC at the turn-of-the-century. Some films document the start of a construction boom that would last 30 years in the city. Example: "Opening the Williamsburg Bridge, December 19, 1903." The Williamsburg Bridge, a combined cantilever and suspension bridge, crosses the East River from Delancey and Clinton Streets, Manhattan, to Roebling and S. 5th Streets in Williamsburg. Built at a cost of $12 million dollars, it held two lanes of roadway, two "L" tracks, four trolley tracks, and two promenades. It was the largest suspension bridge in the world at the time. Questions about American Memory? :
2) The collection evokes a sense of pride in the growing metropolis, its architecture, and its infrastructure, showcasing both city workers and city services. Example: "Fireboat New Yorker in action, May 10, 1903." Put in service on February 1, 1891 as Engine Company 57, the "New Yorker" was stationed at the Battery near Castle Garden, where her crew lived aboard. She was 125 feet long, 25 feet abeam, with a tonnage of 243. The 800 horsepower triple expansion engine turned a single screw. With a total capacity of 13,000 gallons per minute from its Clapp & Jones and La France fire pumps, the "New Yorker" was the most powerful fireboat in the world.
3) These films feature scenes of life in New York City at the turn-of-the-century. Hustle, bustle, chaos, and commerce of a growing city are depicted in many of these motion pictures. "Bargain Day, 14th Street, New York, April 1, 1905" shows hundreds of tightly packed people crowding into the front door of the Rothschild Co. 5 and 10 cent store. They're so closely packed, it's difficult to tell one from another. The view is from across the street, looking down from the 2nd floor.
4) The collection offers a broad view of transportation available in the burgeoning city. In films like "Lower Broadway, May 15, 1902," the sidewalk along Broadway is crowded with people. Traffic along both streets is very heavy. A horse-drawn streetcar passes in front of the camera; a sign gives its destination: "Courtland and Fulton Street Ferry." Questions about American Memory? :
5) The collection provides examples of leisure activities at the turn-of-the-century. In films like "Skating on lake, Central Park, February 5, 1900," views show a frozen lake in Central Park crowded with ice skaters. The film quality is so poor, it's difficult to tell if the apparent "snow" is real or just scratches on the film.
6) Celebrations and events are captured in several early films, for instance, "Buffalo Bill's wild west parade April 1, 1901," where footage shows a parade down Fifth Avenue, New York. Many children, both black and white, are seen following along the parade route. The parade's participants include cowboys, Indians, and soldiers in the uniform of the United States Cavalry on horseback and riding horse-drawn coaches. Buffalo Bill can be seen on horseback, lifting his hat to the crowd.
7) Some films in the collection capture workers or labor at the turn-of-the-century. In "Sorting refuse at a NYC incinerating plant, May 9, 1903," a group of 30 or so men and boys are sorting combustible refuse, mostly paper, and stuffing it into large sacks. In the background, a man in a hat with an emblem on it can be seen unloading trash from a large wagon.
8) The collection also offers glimpses of the immigrants that swelled
the city's population at the turn-of-the-century, and of African Americans
in New York. See films such as, "Emigrants
[i.e. Immigrants] landing at Ellis Island, July 9, 1903," which opens
with a view of the steam ferryboat "William Myers," laden with passengers,
approaching a dock at the Ellis Island Immigration Station. The vessel is
docked, the gangway is placed, and the immigrant passengers are seen coming
up the gangway and onto the dock, where they cross in front of the camera.
Questions about American
Memory?
In 1997, Mayor Rudolph W. Giuliani and Patricia Reed Scott,
Commissioner of the Mayor's
Office of Film, Theatre & Broadcasting announced that for the
third consecutive year New York City has set a record for film
and TV production with shooting days reaching an all-time high and direct
expenditures soaring over $2 billion.
"There's no place in the world that can match the creative energy, spirit and vitality of New York City. From major studio features to television series to independent films, New York has fast become the ideal place for filmmakers and television series to set up shop," said Mayor Giuliani. "Since our city is safer and cleaner than it's been in over two decades, production in the TV and film industry has climbed to record highs -- this means more jobs and opportunities for hard working New Yorkers."
FILM
( Direct expenditures for film and television production in New York
City rose 55% from $1.434 billion in 1993 to $2.227 billion in 1996.
( The overall increase in production shooting days rose from
15,262 in 1993 to 21,286 in 1996 with the strongest surges in motion
picture and television production. ( 201 films were made in 1996, compared
with 175 in 1995 and 157 in 1994. ( Motion picture production
shooting days grew to 4147 in 1996 from 1715 in 1993, an increase of 142%.
In 1996, New York-made hits such as Ron Howard's Ransom, starring Mel Gibson
and Rene Russo, and The First Wives' Club, starring Bette Midler, Goldie
Hawn and Diane Keaton, topped $100,000,000 each at the national box
office. Other New York-made films included One Fine Day, The Preacher's
Wife, Sleepers, The Mirror Has Two Faces, The Associate, Everyone Says I
Love You, the independent hits Big Night and I Shot Andy Warhol and the
recent Sundance prizewinners, Sunday and Hurricane. Other motion pictures
that are still filming in the City or that have recently wrapped include
Richard Donner's Conspiracy Theory, Taylor Hackford's The Devil's
Advocate and James Mangold's Copland.
Recent reports from the Bureau of Labor Statistics indicate that motion pictures are number two in the top five areas of job growth in the City, rising by 6,600 jobs in 1996 to a total of 43,900 full-time jobs. These jobs are in addition to the free-lance shooting days reflected in calculations from projects served on location by the Mayor's Office of Film. Employment figures from labor unions in the City are showing their highest numbers ever for the past two years.
TELEVISION
( TV shooting days rose 79%, to 6,439 in 1996, from 3,598 in 1993, with the primary surge from prime-time television series. New York has not had so many prime-time series since the late 1960's. With the advent in 1996 of ABC's Spin City, Dreamwork's first series, and CBS' Cosby, situation comedies came back in strength. In daytime, The Rosie O'Donnell Show debuted to extraordinary acclaim. The networks will launch two other new drama series in March, when Feds debuts on CBS and Prince Street opens on NBC. A third new prime-time series, Linda Gottlieb's 13 Bourbon Street, shooting at Kaufman Astoria Studios, is expected to air on Fox TV in 1997.
Other New York based prime-time series are the long-running Law & Order, New York Undercover and news programs including ABC's Prime Time Live and 20/20, Dateline NBC, CBS 60 Minutes and 48 Hours. "New York has hosted not only the first Dreamworks television series thanks to Michael J. Fox and Gary David Goldberg, but also the first Dreamworks feature, The Peacemaker, starring George Clooney and Nicole Kidman. We are very fortunate that Michael J. Fox, longtime loyalist Bill Cosby and an irrepressible New Yorker like Rosie O'Donnell insisted on making their terrific shows here," said Commissioner Scott.
COMMERCIALS AND DOCUMENTARIES
Commercials, long a key factor in film work in the City, are the third largest category of production with total shooting days in 1996 at 4436. Documentaries were up to 1325 from 531, largely due to the ongoing documentary project SHOAH, which is funded by Steven Speilberg. Student films also rose from 1995's 1475 to 2570 shooting days in 1996. Michael J. Fox, currently starring in and producing Spin City, has starred in such films as Back to the Future and its sequels, The American President, Casualties of War, and Bright Lights, Big City. He is best-known to television audiences for his triple Emmy Award-winning portrayal as Alex P. Keaton on the hit series Family Ties. Gary David Goldberg, a native New Yorker, created and Executive Produced the hit television series' Family Ties and Brooklyn Bridge. He has been the recipient of many honors during his career including an Emmy Award as co-producer of Lou Grant and an Emmy Award as writer of the Family Ties episode "'A' My Name is Alex." Goldberg was also instrumental in the establishment of Paramount Studios Child Care Center -- the first on-site facility at any studio.
The Mayor's Office of Film, Theatre and Broadcasting can also be accessed on the Internet through NYC LINK, the official New York City World Wide Web site.
TOP of PAGE
UPCOMING
PRODUCTIONS EXPECTED TO SHOOT IN NEW YORK CITY
24 Nights Company: Cynical Boy Productions Start Date: 11/4/97 Phone: 212/769-7166 Fax: 212/253-1663 Producer: Kieran Turner, Scott Barnard Director: Kieran Turner Source: Hollywood Reporter 11/11/97
All Saint's Day Company: Daydream City Entertainment Phone: 212/501-2469 Producer: Tommy Lasorsa Director: Tommy Lasorsa Source: Hollywood Reporter 11/11/97
Altered View Company: Seventh Wave Productions Phone: 212/923-8260 Fax: 212/387-8651 Producer: Roman Scott Director: Peter Bouc Source: Hollywood Reporter 11/11/97
Ask For Becky Whiteworth Company: North End Pictures Start Date: November 3 Phone: 212/714-6918 Director: William Nunez Source: Hollywood Reporter 11/17/97
Avalon Of The Heart Company: Ecco Films Phone: 212/353-0740 Fax: 212/353-8218 Producer: Eran Palatnick Director: Eran Palatnick Source: Hollywood Reporter 11/11/97
Boricuas Bond, A Company: Big Ones Entertainment Start Date: 1/5/98 Phone: 212/460-8530 Fax: 212/460-8978 Producer: David Turner, Rip Robinson, Darryl Simmons Director: Vladimir Lik Pm: Yanira Canals Source: Hollywood Reporter 11/11/97
Bytes From The Underclass Company: Skywriter Pictures Phone: 818/754-4601
Fax:
212/869-8130 Producer: Roger Paradiso Director: Roger Paradiso Source: Hollywood
Reporter 11/11/97
Chief And The Indians, The Company: The Chief And The Indians Productions Phone: 212/340-1200 Fax: Producer: John Reidy, Bruce Jehle Source: Hollywood Reporter 7/15/97
Day In The Life Of Joe Davis, A Company: Joe Davis Productions/TTB Prods Start Date: 12/1/97 Phone: 212/388-2316 Fax: 212/966-0426 Producer: Harrison Freed Director: Ken Dashow
Depraved Company: Depraved film Llc Phone: 212/995-5170 Producer: Jerry Kolber Director: Mark Edlitz Source: Hollywood Reporter 11/11/97
Domino's Falling Company: Dream-Ality Concepts Phone: 718/448-3344 Producer: Rich Cirillo Director: Steven James Creazzo Source: Hollywood Reporter 7/15/97
Dry Season, The Company: Brain Entertainment Start Date: 10/19/97 Phone: 914/639-0529 Producer: Mitchell Bard Director: Brian Blotner Source: Hollywood Reporter 11/13/97
Englishman In New York, An Company: Labyrinth Entertainment Phone: 212/947-4014 Fax: 212/947-4993 Producer: Drew Stein Director: Nigel Bennett Source: Hollywood Reporter 7/15/97
Every Second Counts Company: Dynamo Films Telephone: 973-376-8237
Evil Streets Company: Cinema Image Productions/Knight Prods/Manta Ray Pictures Fax: 516/292-9272 Producer: Michael Knight Source: Hollywood Reporter 11/11/97
Family Web, The Company: August Sun Productions Start Date: January 1998 Phone: 212/627-7433 Producer: Robert Locke Director: Robert Locke Source: Hollywood Reporter 11/11/97
Fast Horses Company: Burrito Western Films Start Date: 11/30/97 Producer: Dominic Engel Director: Dominic Engel Source: Hollywood Reporter 11/11/97
Gangstresses Company: The Reel Deal Inc. Phone: 212/343-8100 Fax: 212/343-8190 Producer: Harry Davis Director: Nina Rosenblum Source: Hollywood Reporter 11/11/97
Holy War Company: 20th Century Fox Start Date: February 1998 Producer: Ed Zwick, Lynda Obst Director: Ed Zwick Distributor: 20th Century Fox Source: Hollywood Reporter 11/11/97
Life In Bed Company: Tribeca Lab Fax: 212/243-3067 Producer: Nick Lindsay Director: Nick Lindsay Source: Hollywood Reporter 11/11/97
Love And Miniature Pumpkins Company: Reality Check! Films Start Date: April 4, 1997 Source: Hollywood Reporter 11/11/97
Meri Stone Company: Luvy Media Productions Phone: 213/953-8633 Fax: 213/953-9973 Producer: Jon David Hensarling Source: Hollywood Reporter 11/11/97
Monumental Company: Bowlingreen Pictures Lp Start Date: 10/14/97 Fax: 212/691-3566 Producer: Mary Fitzgerald Director: Nick Smith Source: Hollywood Reporter 11/11/97
Moral Decay Company: Thrive Cinema Producer: Douglas Hunter, Dan Reed Director: Dan Reed Source: Hollywood Reporter 11/11/97
On The Run Company: On The Run Phone: 212/741-0640 Fax: 212/741-0715 Producer: Tino Navarro Director: Bruno De Almeida Source: Hollywood Reporter 11/11/97
Piece Of Eddie Rush Company: Affinity Pictures Phone: 212/388-9063 Fax: 212/388-0161 Source: Hollywood Reporter 7/15/97
Reunion Company: Esquire Films Phone: 212/832-4178 Fax: 718/252-8017 Producer: Paul Corvino Director: Larry Eudene Source: Hollywood Reporter 11/11/97
Road To The Riches Company: First Draft Productions Start Date: 7/13/97 Phone: 718/859-1907 Fax: 718/271-9121 Producer: Lisa Clark Director: Rodney Stringfellow Source: Hollywood Reporter 11/11/97
Rounders Company: Miramax Films Corp./Spanky Pictures Start Date: December Permit Expires: Producer: Ted Demme, Joel Stillerman Director: John Dahl Distributor: Miramax Source: Hollywood Reporter 11/11/97
Share The Wealth Company: Lingomba Filmworks Start Date: 6/9/97 Phone: 718/978-6232 Fax: Producer: Jeffrey Horne Director: Jeffrey Horne Source: Hollywood Reporter 11/11/97
Torchbearer Company: Mocean Pictures Inc/Gun For Hire Films Phone: 908/775-4737 Source: Hollywood Reporter 11/11/97
Unhinged Company: Break Through Productions Start Date: 12/1/97 Phone: 212/592-9013 Fax: Producer: Philip Jones Director: Philip Jones Source: Hollywood Reporter 11/11/97
Velocity Of Gary, The Company: Cineville Productions Start Date: 9/19/97 Phone: 310/394-4699 Fax: 310/394-3052 Producer: Dan Lupovitz Director: Dan Ireland Source: Hollywood Reporter 11/11/97
Whiskey River, Nyc Company: Rattlesnake Pictures Llc Fax: 212/727-9203 Producer: Thomas Hooper Director: Thomas Hooper
Women In Production Company: Marvalous Productions Phone: 212/977-5150 Fax: 212/262-5150 Producer: Director: Annette Danto Source: Hollywood Reporter 11/11/97
You Have Mail Company: Warner Brothers Start Date: February 1998 Producer: Lauren Shuler-Donner, Nora Ephron Director: Nora Ephron With: Tom Hanks, Meg Ryan Distributor: Warner Brothers Source: Hollywood Reporter 11/11/97
Zen Master Company: Zen Master Productions Start Date: November Producer: Jd Fryberger Director: Jd Fryberger
Last updated December 1997 To have your film
project listed contact:
WELCOME
TO PRODUCTION IN NEW YORK!
For nearly three decades, the Mayor's Office of Film, Theatre & Broadcasting (MOFTB) has been the central clearinghouse for the international production center here which provides 78,000 New York entertainment professionals with employment and generates just over $5 billion dollars annually. This office is an advocate for all kinds of productions, from major feature films and television series to commercials, music videos, documentaries and student films. We provide a free permit and services to assist your project, and we look forward to working with you. We have a reputation for finding a way to say yes.
HOW
SHOOTING WORKS ON THE MOFTB PERMIT:
The PERMIT we issue to your production provides access to PUBLIC LOCATIONS
and LOCATION PARKING for essential PRODUCTION VEHICLES throughout 300 sq.
miles of public settings in the city's 5 counties, including 27,000 acres
of city parks..
When your project is shooting at an exterior location and requires traffic control, re-routing, work in the street, or a scene with guns or uniformed police, you must have the special NY Police Movie and Television Unit on the location. The police unit will assign its officers at no charge to you.
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